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Covering Student End of Year Shows in 360
Continuing coverage of the summer at GB MET show at Durrington.
The pattern that is emerging is to cover the ground, each exhibition room and some corridors with a 360 still image, then return to take mid-shots and extreme close-ups. As I find the language for covering an exhibition I also use 360 video.
The pattern is to cover a room, on the self-timer at 5 to 10 seconds, then return first with a standard lens and then using a close-up lens for fine detail. Everything is manually set to try and negotiate very different lighting conditions. Much of the lighting is mixed source, between bright, low or no sunlight, with neon or other artificial lighting. The 360 camera offers various White Balance settings. Shutter speeds are generally kept low so that if someone wanders into a shot (rare) they will be out of focus in any case. Exposure is therefore adjusted by the ISO.
All the images using the standard digital camera are RAW.
All the 360 images are transferred to an iPad mini which operates the 360 camera remotely. All the images on the iPad are backed up in Google Photos. All these images, those chosen to use at least, will then be colour corrected in Adobe Lightroom, then uploaded into ThingLink and stitched together into a Virtual Reality Tour.
Some ‘establishing shots’ or just reminders of the rooms or corridors I am in are shot on my iPhone. It might be better to use the iPad for these and keep the images saved on a college device and in my college Google Gallery.
‘Hotspots’ will feature a random mixture of mid-shots and close-ups. The issue with VR is that the ability to zoom is lost as soon as you overlay ‘tags’ and ‘hot spots’ and the definition is reduced with the zoom too which counters the way we step in to take a closer look to see greater detail, not to have it obscured.
The coverage is somewhat random as I am not in position either to be comprehensive (cover all items in all sizes) or to be selective (I don’t know the student, the tutor or the department).
The simplest guidance I get is to cover the Degree graduate programme. Armed with a plan of the site I pick all of these off over two days. The Richoh Theta 360 camera runs for around 6 hours, but can overheat and shut down. It takes 4 hours to charge. At times a second 360 camera would be handy. With the self-timer I can get well-out of shot though I have learnt to leave the iPad within a 4m range so that the link is not lost. Once activates the camera will still take a picture however once lost the signal has to be reset via the WiFi connection, or sometimes by turning the camera on and off again.
Ivan Chermayeff ‘Cut and Paste’ @ the De La Warr, Bexhill.
Fig.1 Ivan Chermeyff – interviewed on his life in design
The pleasure from every exhibition I attend at the De La Warr is that they are modest in scope and ambition, engaging and inspiring without being overwhelming and curated in a way that gives you, other visitors, the art works and other parefenalia ample space.
The centre piece for IVan Chermayeff “Cut and Paste’ is for me the short, professionally executed, warming video biography in which Chermayeff gives a potted history of his life, influences and work; about as much as you’d cover in an episode of ‘Desert Island’ discs, though here, instead of music, you can then wonder off and look at examples of his work, works in progress and playfulness.
No transcript is offered so here are some excerpts and bullet points from mine.
Interviewed on two cameras Ivan Chermayeff waxes lyrical, the chronology from childhood and ealy influences, through art school and his early graphic design business, family and beyond; he’s in his eighties. His father emigrated to the US in the 1930s or 1940s I guess from the UK.
“For me inspiration is everywhere; I find it everywhere. I make a lot of visual connections by keeping my eyes and mind open to everything I see. It leads a lot into my design”.
His father architect as the biggest inspiration
“No matter what garbage at the age four, or making messes, he would always say that it was really great. And that was true of everything I did, no matter what. Instead of stopping you doing what you were doing because you wanted to make your old manhappy”.
His father he describes as both an educator and a self-taught architect.
Free spirited and supported. Moved everywhere.
Went to a lot of schools. 24. Andover (four years).
Allowed to do it in a free and open way.
Got to Harvard
Took any classes across the university.
Design School, Chicago
Like a workshop of a school
Experimenting with design problems.
I then spent seven years recovering from my education
Trying to define what design meant
Design is all about seeing
You’ve got to learn how to see
You’ve got to make connections that are not necessarily obvious
“Be interested in training yourself to look around, to notice connections, such as a small colour connection, or the tinniest thing that brings two things together”.
Everybody who I find inspiring are artists who make great connections.
Iko Tannaka – Japanese Designer
We just liked what the other one was doing
Nice to have an inward connection with someone
Recognise that it is worth looking at.
I can’t sit still, so I’m always making things, so I make collages. I just prefer scissors to brushes.
Don’t try to be original, just try to be good.
I never do anything that I didm’ think was damned good.
Completely open understanding that we can contribute to what the other is doing at his desk.
Half the time a company doesn’t tell you what it wants accurately, you have to redefine what it is they want … and turn it into reality.
it can be as simple as finding a relationship between two letters in the alphabet or typeface that are original or say something.
Graphic design is all about audience after all … convince your client … they don’t tell you adequately what it is all about. If they were capable of do that they’d do it all themselves.
Held up extremely well
Business confirmation that we did a good job.
“I have intention of retiring ever”.
The video was created and produced by executive Producers
and directed by
As a teenager my bedroom walls became covered in Roger Dean posters. It is the mid–1970s. Pocet money was spent in the ‘Kard Bar’ in an arcade that wadsubsequently consumed by the Eldon Square complex, Newcastle on Tyne.
Forty years later at the other end of the country I am driving around East Sussex looking for furniture. I stumpledupon Trading Boundaries at Sheffield Park courtesy of a road close between Haywards Heath and Newick. I find several pieces and also learn that Roger Dean, the rock artist and sci–fantasy illustrator is putting on an informal show of his work: originals and sketches from drawing pads and signed posters.
One image takes me into my childhood bedroom where I first put up a Roger Dean poster. Another image takes me into my teens, into the larger guest bedroom in the house and a growing collection. I must have recognised a dozen. I’d need to check my diary entries for that time to get an idea of price. £4 or so in the 1970s?
I was reading the likes of ‘Time Enough for Love’ Robert Heinlein. The teenage boy fantasizing about ‘the world beyond … ‘ I even have my efforts age 13 at writing science-fiction that became Blue Lagoon in space I called ‘Adam & Evie’.
My son joined me. He is interested in urban art and graphic design. He’s always loved designing fonts so perhaps this would inspire him. He puzzled over untangling the e from ‘Yes’ – the many logos, album sleeves and posters Roger Dean created for the band. We saw a 2010 cover for Cliffe Bonfire Society which explains his presence in this part of the world – Lewes attracts artists.